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This category contains the following articles
- Ways of Seeing Abstraction: Karla Knight, Spaceship Note (The Fantastic Universe), 2020
- ICA Boston - "i´m yours: Encounters with Art in Our Times"
- Ways of Seeing Abstraction: Lada Nakonechna, Merge Visible. Composition No. 45, 2016
- Tel Aviv Museum of Art - "Desktop: Artists During COVID-19"
- Fondazione Prada - "Finite Rants"
- Ways of Seeing Abstraction: Tobias Rehberger, Ohne Titel, 2000
- Musée d'Art Moderne Grand-Duc Jean - "Me, Family"
- Dallas Museum of Art - "Arthur Jafa: Love is the Message, The Message is Death"
- Ways of Seeing Abstraction: Phillip Zaiser, Testbild, 2000
- Deutsche Bank Collection Live - Meet the Artist
- New Museum - "Grief and Grievance: Art and Mourning in America"
- Feminist View of Pakistan: Umber Majeed is a Fellow of the New York Foundation for the Arts
- Painter. Rebel. Teacher. - K.H. Hödicke at the PalaisPopulaire
- Space Experiments: Seven artists versus architecture at the Hamburger Kunsthalle
Painter. Rebel. Teacher.
K.H. Hödicke at the PalaisPopulaire
He was a rebel of German postwar painting. At the beginning of the 1960s in Berlin, the painter K.H. Hödicke
was one of the spokesmen for a small group of impetuous young lateral
thinkers who sought to revolutionize painting. After the war, Germany
rejoined the European art scene through abstract painting trends such
as Informel and Tachism.
And it almost completely turned away from the figuration that was
ideologically burdened by National Socialism and Stalinism. Abstract
painting devoted itself primarily to inner, transcendental cosmoses.
But Hödicke sought to counteract this with his figuration. With his
surprisingly fresh contemporary visual worlds, he, like other artists
of his generation, abruptly set himself apart from the abstract
generation. His early big-city subjects, which concentrated on motif
extracts and which he entitled Reflections, bear his
unmistakable signature. Painted with a dynamic flowing gesture that
oscillates between form and non-form, they shine in luminous expressive
coloration. In 1974, K.H. Hödicke was appointed professor at the West
Berlin Academy of Arts.
His direct painting would have a formative influence on an entire
generation of subsequent artists who in the 1980s were known as the Neue Wilde.
The retrospective K.H. Hödicke, which opens at the PalaisPopulaire on October 9 after its premiere at the Staatliche Graphische Sammlung Munich, gives insight into a virtually inexhaustible artistic oeuvre. The combination of drawing, painting, and sculpture demonstrates that while Hödicke, born in 1938, is undoubtedly one of today’s classics, his work has retained an astonishing freshness and topicality over half a century.
For the first time, K.H. Hödicke gave a curator, Michael Hering from the Staatliche Graphische Sammlung Munich, the opportunity to view works in the artist’s possession for a period of two years, to bundle and thematically arrange groups of works. The works are returning to Berlin, the city in which Hödicke, together with Markus Lüpertz and Bernd Koberling, founded one of the first producer galleries in 1964, the legendary Großgörschen 35. Like no other artist, Hödicke captured walled-in West Berlin for decades, the Wall, the ruins, the courtyards, the Gropius building, the streets at night, the neon signs, the snow—and repeatedly the nervous energy and the attitude to life of this frontline city, things that he helped influence with his art.
K.H. Hödicke
October 9, 2020 – March 8, 2021
PalaisPopulaire, Berlin
The retrospective K.H. Hödicke, which opens at the PalaisPopulaire on October 9 after its premiere at the Staatliche Graphische Sammlung Munich, gives insight into a virtually inexhaustible artistic oeuvre. The combination of drawing, painting, and sculpture demonstrates that while Hödicke, born in 1938, is undoubtedly one of today’s classics, his work has retained an astonishing freshness and topicality over half a century.
For the first time, K.H. Hödicke gave a curator, Michael Hering from the Staatliche Graphische Sammlung Munich, the opportunity to view works in the artist’s possession for a period of two years, to bundle and thematically arrange groups of works. The works are returning to Berlin, the city in which Hödicke, together with Markus Lüpertz and Bernd Koberling, founded one of the first producer galleries in 1964, the legendary Großgörschen 35. Like no other artist, Hödicke captured walled-in West Berlin for decades, the Wall, the ruins, the courtyards, the Gropius building, the streets at night, the neon signs, the snow—and repeatedly the nervous energy and the attitude to life of this frontline city, things that he helped influence with his art.
K.H. Hödicke
October 9, 2020 – March 8, 2021
PalaisPopulaire, Berlin